If gay means happy, then why is everybody so damn muggy?
Torn apart by the shattering impact of the death of his long-time lover, college professor George Falconer (Colin Firth) experiences the most transitional day of his life, blending past and present, desire and despair, and discovering that love persists even after the object of love is gone.
Way back when in 2009 when this film was making it’s whispers of Oscar-talk for Firth, I really wanted to go see it but didn’t have a car, didn’t know where to see it, and even worse, didn’t really have the time to make out of my day, to go see an art-film like this. However, almost four years later, and with a car, with an idea of where to see it, and with plenty of time in my day, I’ve finally seen it and I’m really pissed at myself for missing-out all these years. Boo, the 16-year-old version of myself!
This movie marks the filmmaking debut of designer Tom Ford and you can totally tell that this guy has had something, no matter how big or little, with the world of designing just by looking at a single-frame of this movie. Everything is so polished, so lavish, so classy, so jazzy, and so beautifully, that you really feel like you are in the 60′s, watching a real story play-out in front of your own eyes. At first, it may seem like the movie is a bit too artsy-fartsy and way too happy with itself, but after awhile, the constant stylized-montages and changes in color, really make sense to the story and actually change the mood of what you are about to see. Yeah, Ford may be obsessed with making things look purrty, almost a bit too purrty, but there is absolutely no problem whatsoever, with keeping a person’s eyes on the screen, especially if your material is weak.
However, you don’t have to worry about that instance here, because the material is very strong in the way it always keeps you riveted and always keeps you interested in what’s going to happen. What I liked so much about this movie, is how simple the story is and yet, it’s always so intriguing into seeing where it goes with itself. You get to see this one man, who’s so heart-broken, who’s so sad, and who’s in so much pain, and you get take a glimpse inside a day of his own life and see where his mind goes throughout the day’s events, and how this one day shapes the rest of his life. We get a crap-ton of memories, flash-backs, and surreal, dream-like sequences, but they all fit within the context of the story and what Ford is going for and it really surprised the hell out of me.
The feelings you get with this story aren’t life-changing, but they are at least relate-able considering that this man has lose the love of his life and still has no idea what to do with it. Quite frankly speaking, I think we can all relate to that idea and message, so to see this one man, who we just meet, go throughout his day and struggle with that hurt in his heart and reserve in his step, it’s truly believable to see and very understood. Never has a flick really been so simple like this, yet, make it so much more than what it’s plot seems to out-line. I don’t know if we have Ford to thank for that, or the source material he adapted this from, but I know one person we can thank: Mr. Colin Firth, himself.
Before King George VI, and before he has become to be known as the most-lovable British man on the face of the planet, Colin Firth was one of those supporters you would see in British rom-coms like Bridget Jones’s Diary and Love Actually, and more or less, came-off as the thinking’s man Hugh Grant that just never really got the shot to take a film, that he so rightfully desired. Here, as George Falconer (pretty boss name to have on your birth certificate), Firth gets to show everybody why he deserves that shot and shows us all why he can do almost anything and everything, with one, simple look on his face. This performance isn’t all about theatrics, it isn’t all about him yelling and screaming the whole time, and it sure as hell isn’t about him just breaking down every five-seconds so we get the idea that he’s sad, this is more of a performance that’s all about being subtle and understated, while still making us feel something for this guy, that we literally just met right-off-the-bat.
Still, as much as you may feel bad for this guy and all that he’s going through, Firth still has plenty of charm and wit to him to where you really feel like he’s the type of sad-sack you would want to cheer-up, whether it be sexual or just a regular, shared-brewskie at the bar. Firth has that every-day man, sense of likability to him that works so damn well with this role and it’s a real wonder why it took him so freakin’ long to nab a leading-role in a flick like this. I would hate to sound cliche and obvious by stating that George Falconer was the role Firth was born to play, but after seeing this flick and seeing all that he can do with a simple-script like, it would be damn-near impossible to state anything different. If Jeff Bridges didn’t get the pity-win for Crazy Heart that year, you can bet your sweet ass that Firth would have been the next in-line for that win.
Since Firth is so damn good as Falconer and just about steals this movie from underneath his feet, the rest of the cast sort of pales in-comparison and that’s a problem when you have a film like this that relies so heavily on everybody else coming in to spice the story up away from Falconer. Julianne Moore is surprisingly raw as Falconer’s bestie/ex-lover, Charley, and is very interesting and fun to watch in a role where she just lets loose on all of her grubbiness and grit, but also feels like she should have had more to do here. She shows-up for a scene or two, does her vulnerable-act, and is essentially gone from the rest of the movie. That’s not so bad since Firth is a revelation to watch, but the film would have definitely been a lot better had they given more scenes to him and Moore together. Then again, it’s not a terrible thing when you have an actor like Firth and performance like his.
Matthew Goode only shows-up in flash-backs as Falconer’s deceased-lover, and brings enough heart and warmth to a character we really need to know more about to fully invest ourselves, and does a good job. But like Moore, I just wish there was more of him to fully get us going. And lastly, Nicholas Hoult plays a student of Falconer’s that seems to be almost obsessed with him and constantly stalks and asks him questions, that would make any person just cringe right-away. Hoult definitely gets a chance to show everybody that he’s grown-up (especially when he’s butt-naked a few times), but that’s about it as the kid definitely left his acting-skills with him back in his adolescence. It’s not that he’s a bad actor, it’s just that this character is so one-note and obvious that once you start to see his true colors pop-out, it’s so glaring that it’s distracting to the rest of the film that seemed to be all about having subtle, but heartfelt emotions about life and love. Hoult definitely looks the part of a confused, 60′s-era college-student, but doesn’t feel like it and when you put him up-against Firth, it’s too obvious to set-aside.
Consensus: Thanks to an amazing performance from Colin Firth and an artful direction from Tom Ford, A Single Man may be simple, but still has the power of a wrecking ball to hit your brain and your mind with it’s ideas and thoughts about life, love, and heart-ache, but yet, also feels like it could have been so much more if there had been more time and grace given to everything else.
8 / 10 = Matinee!!
Almost 30 years later, and I still don’t get what the hell they’re talking about.
Sam Flynn (Garrett Hedlund), son of the famous Kevin Flynn (Jeff Bridges), responds to a message from his long-lost father and is transported into a virtual reality called the Grid, where Sam and the algorithm Quorra (Olivia Wilde) try to stop the malevolent program CLU (a younger Bridges in CGI-form) from invading the human world. However, times have changed for dear old Kevin Flynn and he’s not exactly what he used to be, so it’s up to Sam to save the day.
After checking out the first TRON and not seeing it as anything more than just a pretty film that’s easy on the eyes (if you take the time-period into consideration), but still, very hollow once you get underneath it all, I was actually looking forward to this one. The reason being is just because it’s been almost 30 years since the original, so therefore it seems like they would have a new hold on the visuals, the story, the acting, the writing, and just about everything else that didn’t work in the original. Somehow, that idea didn’t get around to anybody working on this movie, except maybe the people working on the soundtrack. Yeah, giving Daft Punk a call was a bit different.
If you haven’t seen the original, you may want to do that now before you even bother reading the rest of this review or even seeing this movie because going into this one blind and having no idea what to expect will probably leave you in the dust. Not only does the flick barely touch on anything that happened in the first movie, but it’s story (or lack thereof) is mainly for the people who saw and could at least understand some portion of the original’s. Basically, see the first one and THEN, check this one out. You’ll be happy I gave you that piece of advice, but then again, you maybe be unhappy that I gave you that piece of advice because not only did you have to sit-through one TRON movie, but two! My condolences, people. My condolences.
Actually, all of this pre-game shit-talking may not be deserved because to be honest: I actually enjoyed myself with a good-portion of this flick. Heck, if I was to put it head-to-head with the first; I’d probably have to go with this one pulling out the close victory. Close-call, but still a victory none the less. With that being said, it doesn’t mean that the same problems I had with the first movie aren’t here, it’s just that there is more to distract me this time around. Thankfully, that distraction lies in the form of Joseph Krosinski’s visual-direction. In the 30 years ever since the first one came out and shook-up the world of movies and video-games as we knew it, technology sure as hell had changed and improved in ways that we wouldn’t have ever been able to swallow back in those days. This means that the movie actually takes advantage of that fact, the same way the original did, except with more CGI, more 3-D, and more IMAX.
Obviously, the first one for it’s time, was revolutionary and visionary with what it could do back in the dog days of Summer in ’82, but now, in the 21st Century; there’s so much more than we ever imagined. The world of the Grid looks more beautiful and breath-taking than it ever did before and you really feel as if you are swept into this virtual-reality world with the same shit from the first movie like electronic cars, frisbees, and weapons, but this time; with more pizzazz and style added to the mix. I really felt like Krosinski had a total understanding of what the look and feel of this world would be like, and he doesn’t drop the ball on it once. Especially in one scene that takes place inside this wild and crazy night-club that had me feel like I was watching a whole, different movie. Also, the scene works because that’s really when Daft Punk’s score begins to kick-in and if it wasn’t for them and their pounding, electronic-beats in the background in that scene, as well as for the rest of the movie, there probably wouldn’t have been the same amount of electronic-energy involved that just got your senses alive and pumping.
Thanks to Krosinski, you feel as if you are there in this virtual-world where everything is on such a higher-platform than it ever was before and the guy absolutely revels in it. You can tell that he really did grow-up with the original movie, and shows that he loves this world just as much as any other nerd, who probably watched it back in the day, and fell in love with it just the same. However, the difference between Krosinski is that he has a camera and about $170 million to work with, whereas the nerds are just left there, making $10 an hour, eating Doritos off their chests as they sit-back, and watch as a fellow-nerd lives out their shared-dream to the fullest. In a way, that can all be viewed as a humble experience, but it still goes to show you that if you have inspiration and a vision that you want to get-out there for the rest of the world to see, don’t hold yourself back from showing yourself. Get the hell out there and make it happen! Fuck yeah!
Anywho, I think I may have gotten a bit too carried away with what I was trying to say because yes: even though Krosinski knows exactly what he’s trying to do behind-the-camera and with the visuals, he still hits the same dead-end that the original hit way too many times: the script. For all of you who probably guessed it, then yes, the script is pretty terrible and without getting into the whole gist of this thing and finding myself in a circle of total and complete convoluted craziness, I’m just going to state that this plot practically makes no sense, even to a person that has seen the original no less than a week ago. There are some interesting ideas here, but nothing all that special that the Matrix didn’t already cover, about 11 years earlier. Which means watching it now, just seems like a bit of a re-tread of something that was done and said, a hell of a lot better before. God, you gotta love the 90′s.
As you could probably suspect, the dialogue is pretty shitty but you don’t come to a movie like this for winning-dialogue and understandings of the world we surround ourselves with; you come to these movies for fun and fun only, and that’s what element this script is missing out on: fun. What made the original a relative joy to watch was that no matter how corny, no matter how dated, and no matter how lame the rest of the script was (and trust me, it did get unbearable at-points), the film still always had this breath of fresh air that knew it wasn’t taking itself so seriously and always allowed there to be room for play-time. However, this movie, this story, and this script, only allows little to no room for play-time and really brings down the whole mood of the film. Terrible shame too, because it could have really saved a lot of the shaky-material this movie had on-display.
Yeah, I get that it’s supposed to be a bit of a dumb movie that’s strictly for fans of the original and people that like extra butter on their popcorn, but is this really the BEST material they had to offer? I mean, you can live-off the fanboys money for only so long, all up until the point where the fanboys begin to realize something is wrong, dead-wrong with the way things are structured in a movie, especially a movie that’s living in a cult-name like TRON. Even though I wouldn’t go so far as to call the final-product a total cash-grab for that said audience; it still feels like a lame and disappointing attempt at trying to re-create the fire that was once there. The fire that also never really caught my eye in the first-place but then again, it’s a different type of movie for a different type of person. Different strokes for different folks, I guess.
The one thing they did improve on, if only a tad bit, from the original is that the characters at least have more to them than I originally expected. Jeff Bridges returns as Kevin Flynn in two forms: the goodie and the baddie. The goodie-form of him show the Zen-like fashion where he’s more of The Dude, than the precursor to Neo. This especially works for the aging-Bridges who always seems to be the most reasonable and coolest guy in the room, no matter what type of role he’s playing in any movie he appears in. However, the baddie-form of this character is where things really start to get topsy-turvy for Bridges because it isn’t exactly that it’s Bridges actually playing the character and giving a realistic-performance, it’s more that the computer is taking over and giving us another one of those terribly-creepy, Robert Zemeckis-like motion-capture performances that not only have us scared, but totally take us away from the movie.
Flynn’s baddie-version of himself was supposed to be intimidating and threatening in the way that he could control almost everything and everything, due to the set of skills and prowess he had from the computer codes Flynn gave him. However, when you give the guy the motion-capture treatment like this, he doesn’t look the least-bit scary. The only form of scary, is that he’ll probably just give the kiddies nightmares, that’s if you even bring them to see this. Don’t know why you would, but you never know: nerds have done far worse. However, instead, you’re too busy laughing your ass off by how dull his eyes look and how stupid it seems to be whenever he opens his mouth. They did nail some aspects of Bridges when he was a younger lad, but it’s still not enough to be less distracting than a form of CGI in say, The Curious Case of Benjamin Button. That was not only used to enhance the story, but done very, very well. Here, it just looks dumb and takes you totally out of the movie and character, even if Bridges does try his hardest to make this character, in both forms, work. I mean, I’ll give a lot of credit to Bridges for actually allowing a movie to take a younger-version of himself and plant it in a movie where he shows-up quite frequently, but still, for the movie’s sake, it’s a bold-move that doesn’t work.
Garrett Hedlund plays his son, in what seems to be the type of role that could make him a star and send his name up into the highest-rankings (sort of like Chris Pine in Star Trek), however, he’s just not really talented enough to allow that to actually happen. Hedlund definitely looks the part of a young, wild, and brass go-getter dude that knows his shit don’t stank, but there was just something that felt off in his delivery and sent his character into a daze of dullness. You sort of forget that he’s even around and if it wasn’t for the plot needing him to do cool, flashy action-moves (mainly because Bridges sure as hell can’t do them anymore), then he would have not served any purpose to this story whatsoever. Okay, maybe that’s a bit drastic to say but you get my drift: the guy blows here.
Olivia Wilde is the one who really saves this cast, and in a way, the movie as well. She plays Quorra, the ass-kicking femme fatale of the group and is not only a gorgeous soul to just gaze at, but also has some nice dramatic-chops to her that she shows in full-display here. Something tells me the script didn’t really ask for much with a character of her liking, but Wilde doesn’t ever seem to settle for conventionality and actually brings the cake to the screen, whereas her co-star Hedlund, seems to really fall-apart. Not only does she have the looks, but she has the brains as well. My type of woman.
Also in the cast, is Michael Sheen who seems to be having a freakin’ blast as Castor, aka, the sci-fi version of David Bowie that only gets about 10-minutes or so of screen-time, but lights it up the way he always likes to. He’s apart of that crazy, club-scene I was alluding to earlier and is one of the main reasons why it’s so electric and fun in the first-place. Still, it’s a total downer that the guy doesn’t show-up more as I feel like the film could have totally used his type of contribution here. I also have no idea why Cillian Murphy was here and decided to show-up for 5-seconds of screen-time, but hey, I guess it’s just another job to put down on his resume, so good for that guy.
Consensus: The promise for a TRON sequel may lie somewhere in-between the loads of amounts of CGI in TRON: Legacy, but it somehow falls by the same waist-side the first one did. That’s all due to lack of character-development, a story that makes little to no sense, and a feeling of joyful fun that’s about the action, adventure, excitement, and playing the deadliest-game of Frisbee, rather than incomprehensible exposition that doesn’t add anything to the final-product, other than snores from the audience. Even the nerds!
6.5 / 10 = Rental!!
About 20 years later and hell, I could make this movie off of my Mac.
A hip and cool computer programmer named Flynn (Jeff Bridges) is transported inside the software world of a mainframe computer during a computer game. This is also where he interacts with various programs in his attempt to get back out but also make the computer program “nice and civilized” again.
Watching and reviewing old-school movies like this are so hard because you always have to take them with the grain salt, especially ones from the 80′s. You have to always expect the material to be cheesy, you have to always expect it to be dated, and you always have to expect it to not be as up-to-date with the times as you may be used. This movie is even harder to review, mostly due to the fact that nerds from all over the globe hail this as their wake-up call in life, and consider it one of the sci-fi greats, along up there with Star Wars and 2001. Sorry geek fan boys, not quite up there with those classics.
No matter what it is you may hear about this flick, whether it be good or bad, you always hear that this is just one of those flicks that changed the way computers affected a movie. For instance, back in the days before the summer ’82, computers and film didn’t really need each other, except if it was for a fully-animated movie that needed help moving the pictures and graphics along. Then comes along this movie and soon you start to see actual-people, perform in front of a live-stage that’s just filled to the core with special-effects and even though it may not look as beautiful and awe-inspiring as it may have then, it still really takes you awhile to realize, “Damn, this had to really fuck people’s minds when they saw it”.
Seeing an all-out, special-effects extravaganza like Avatar and remembering your first reactions after seeing that can only give you an idea of what people thought about after seeing this movie way back when, and it’s really impressive. Director Steve Lisberger definitely seemed like he had a real hunch in his back with everything he wanted to do, how he wanted to do it, and how he wanted it look in the final-cut, and for the most part; the guy succeeds big time. In the day and age we live in nowadays, films like these only get filled with more flashy-effects and added-on with an extra-dimension, but to see something as simple but cool as this, really brings you back to the days and gets you in the nostalgia-feeling, even if you were never born when it first came-out. Hell, this is my first-time seeing this flick and yet, I still feel the breeze of nostalgia hit me from the early-80′s. Ahh, those were the days…..I think.
Anyway, the special-effects aren’t as dated as I may make it think, they are actually pretty cool to view. I used to be a huge gamer, but recently have fallen off the wagon and found myself playing video-games around once or twice a year. To some of you out there who have hemmorhoids from all-nighters on XBOX live; you may be surprised. However, to some of you that are full-time critics that just love movies; this may not surprise you. Still, watching this made me feel like I was playing a video-game and a really fun, and retro-one at that. Some of the effects may not look as cool as you’d think, but there are still some scenes full of plenty of eye-candy and glamour to feast your eyes upon and whether or not you are a gamer; it doesn’t matter because you’ll still be able to appreciate what’s up on-screen and how Lisberger and his crew were able to create it. It’s very, very impressive, but sadly, this is just one of those cases where it’s all style and beauty, but no substance.
First of all, I had no idea what the hell was up with this story. In the beginning of the movie, I really tried to understand what the hell all of this “computer and technology talk” was all supposed to mean and as soon as I felt like it was translated to me, the film throws me for a loop and not only adds more confusing bits of language to the mix, but brings a piece of tension I never understood. I never fully got why Flynn was in this world and better yet, how, where, when, and how he was supposed to get out of it. To be brutally honest, I don’t think Lisberger cared about any of those details, either, because he seems a lot more concerned with the frequent scenes of running, chasing, brawling, and in what seems to be the most awesome game of dead-or-alive Frisbee. These scenes are all cool to see play-out with the type of visuals Lisberger has on-display, but seriously: what the hell does it all add up to?
Even worse, the film has little to no tension. Other than the cool game of Frisbee I just mentioned in that last paragraph, I never really found myself tense, on-the-edge-of-my-seat, or particularly revved-up with what was going on in the movie. Honestly, I was just watching and waiting for something other than the visuals, to take me by storm and make me feel as if I was really in the mode of playing a video-game. Instead, this ends-up being the lamest video-game ever and it’s even worse when the melodrama rears it’s ugly head in and makes everything seem so corny and dated, aka, exactly what I have come to expect from a sci-fi movie of the early 80′s.
And I know some of you out there may get a tad pissed-off at me and state that this is a movie that’s more about it’s look and feel, rather than the dialogue, but seriously: what sort of defense is that? But even if you weren’t on the film’s side of it’s “style-over-substance”-argument, you still have to admit that it doesn’t matter if a flick has a lame-o script, just as long as it has enough fun and entertainment to take my mind off the crappiness. However, this flick is not one of those and as much action there may have been in the first hour or so, it all starts to go away, in a slowly but surely manner, and rarely ever gain back the excitement it once has. No matter what negatives I may have to speak about this flick, it is still great to look at, but that’s not enough to take my mind off a shit-script of Lucas-proportions.
However, when you have a shit-script, you usually have shit-actors and in a way, that’s sort of the case here. Jeff Bridges plays Flynn and is a bunch of fun as the wacky and wild dude that gets sucked into his own world he enjoys to play around with, and brings a lot of excitement to a flick that seems like it really needs it at certain-points. Bridges is always fun to watch and it’s no surprise that the guy brings a much-needed levity to a script that couldn’t be concerned with it either way. The problem with Bridges being so much fun, though, is that he is probably the best one and everybody else sort of falls by the waist-side, and badly too, may I add.
Even though he’s more or less the secondary-character in this story, Bruce Boxleitner plays Tron and is fine with his material, even though you never understand what is so damn special about this guy in the first-place. You sort of feel like Bridges should have been the only guy in the video-game world after all, and even better, should have been named Tron. I don’t know how much of that would have changed and screwed-up the story, but it probably would have made a lot more sense than just featuring two characters that could be the lead-character but yet, continue to battle-it-out for the top-spot. And not in the fun way, either. It’s more confusing and annoying than that. Cindy Morgan is Yori and, rightfully so, probably plays the most robotic member of the cast as she obviously just seems to be going through the motions of acting, without a care in the world. Maybe it worked back then when people weren’t paying attention to her acting or line-reading, but now, it’s more obvious and distracting than the elephant in the room. And finally, all the movie needed was one hell of an evil S.O.B. to take this movie and make something better, but somehow, some way, David Warner isn’t up to the challenge as Stark and just feels like less and less of a threat as time goes on. Yep, I think that the Dude is the only one who prevails in this cast but then again: are you the least-bit surprised?
Consensus: No doubt that the visuals and look of TRON are as beautiful and as polished as they once were, way back when in 1982, but it just doesn’t take special-effects to make a good film. Sometimes, you need other elements like strong acting, believable dialogue, excitement, fun, joy, action, and glee to make a good film, which is where I think this movie dropped the ball on. Okay, bring on the hate-mail nerds.
6.5 / 10 = Rental!!
With this and ‘War Horse’, I’m getting pretty sick and tired of all these damn horses!
Former bicycle repairman, Charles Howard (Jeff Bridges) made his fortune introducing the automobile to the American West and owned a small knobbly-kneed horse called Seabiscuit. Howard teamed up with a half-blind ex-boxing prize fighter, Red Pollard (Tobey Maguire), who became the horse’s jockey and a former mustang breaker Wild West performer called The Lone Plainsman aka Tom Smith (Chris Cooper), who became the horse’s trainer.
Just by looking at this film you should know just what you are about to get right away. Yes, this is another sports film that is of course about the underdog, or in this case, the underhorse and there’s not much different here. Still, it’s a sports film that works none the less.
Director/writer Gary Ross doesn’t try to do anything new or even original with this material, other than just give us a nice story about “the little horse that could” and that’s not all that bad considering it’s a fun film. Everybody loves to see the long shot win so when you watch these characters and of course Seabiscuit himself try their hardest to do whatever it takes to win the next race, you can’t help but root for everybody involved because you know that it’s a true story and a great story at that.
Ross also doesn’t try to be subtle with this, which in most cases would bother the ever lovin’ hell out of me, but for some reason that wasn’t the case here. Ross constantly keeps knocking us over the heads with everything he’s trying to say and get across with this story: whatever mood these characters are feeling, the American public feels as well; Red and Seabiscuit are basically the same characters but in different life-forms; and Red long lives for a father that left him when he was a child which means you can start to see Charles father him. Ross does everything here to get these points and ideas across in the most obvious way possible but I think it added a lot of emotion to the story by making this more than just a flick about a horse that wins races, it’s more about how America felt during the Depression and how events such as a race-horse, gave hope to almost everyone who needed it the most.
The racing scenes I may add are very fun and filmed incredibly well to the point of where it looks like actual footage but there were problems with the fact that they just sound too unrealistic. I know this sounds like a weird complaint but being a person that has and still does play sports all of his life, the fact that you can have some a horse gallop behind you and it sounds like there is about 400 horses doing the same thing kind of bothers me. I get it, they want to capture the intensity of the whole feel and atmosphere of what it feels like to be out on that track but I highly doubt another jokey could hear anybody as perfect as they hear each other, while racing, and there is race going on itself. This isn’t just a problem with this film, it’s a problem with almost all sports film and the fact that the over-emphasizing of sounds hasn’t left that genre yet, still shows us that we still can’t have a realistic sports film that shows you what’s its really like to be out there in action.
Let’s also not forget to mention that this film is an astounding 2 ½ hours, where we don’t even get introduced to the h0rse until 45 minutes in. I kept watching the time and wondering just when I was going to see the horse itself, but I guess Ross was more focused on showing Peter Parker getting the crap kicked out of him playing a boxer. It also sucks that when the film actually ends, its very abrupt and we don’t really get a chance to see what happened to these characters. Usually these types of films end with a few words up on the screen but for some odd reason we were just left with the cold shoulder. Then again, I guess that’s why they call it ‘Wikipedia’.
The cast is also very impressive and carries this film through a lot. Tobey Maguire is a great fit for Red, this angry and frustrated type that seems a little weird at first but actually is a real human-being that actually has faith in this horse, which is just about contagious. Jeff Bridges is a whole lot of fun as Charles Howard who always seems to be so jolly and happy throughout the whole film, but when something bad happens, and oh does it ever, you really feel it coming right from his heart. This is one of those times where Bridges just looks like he’s taking advantage of a role that just suits his likability so damn well. Chris Cooper is also great as Tom Smith, a guy who seems like he cares about horses more than he does humans, but he sort of takes the back-burner to everybody else here and it’s a shame since his character was probably the richest when it came to being passionate. William H. Macy also has a fun little role as a radio announcer, Tick Tock McGlaughlin, and perfectly captures the sound, look, and act of a 1930′s radio broadcaster.
Consensus: Seabiscuit is a flick that is fun, entertaining, inspirational, and very well-acted by everybody involved, but it’s a little too long for my well-being and there are too many opportunities to really capitalize on the emotions here, that sort of just don’t work like you’d expect them to.
The Wrestler, if Randy “Ram” Robinson played the guitar.
When reporter Jean Craddock (Maggie Gyllenhaal) interviews Bad Blake (Jeff Bridges) — an alcoholic, seen-better-days country music legend — they connect, and the hard-living crooner sees a possible saving grace in a life with Jean and her young son. But can he leave behind an existence playing in the shadow of Tommy (Colin Farrell), the upstart kid he once mentored?
This was a film that back in the day, I didn’t really appreciate so much. But thanks to HBO, I thought why the hell not! But still, not much is that different since the first time around.
The whole story here is pretty generic. It all starts off as this old, has-been entertainer, who drinks a lot, treats his guitar better than his women, and doesn’t seem to make any good choice. However, there’s light at the end of the tunnel because he soon finds someone that he loves and then his life starts to look up. But all of this is pretty predictable, and you can’t help but know throughout the whole film, just how this film is going to turn out. I’ve seen this story time and time before, and although this wasn’t as bad as others, I still found myself a little annoyed with nothing different here.
First time writer/director Scott Cooper does an alright job here in his debut flick, but you can tell it’s a rookie behind that camera. I like how Cooper just let the music and the story speak for itself, but the film doesn’t really do much else. The pace is very uneven with some parts being actually emotionally raw, and then others terribly cliche. I wish the film did more interesting things with this familiar premise, but it was decent at times.
Also, I’m not a huge lover of country music, but I must say this film actually had me tapping my feet to the country music here. I liked how a lot of the real stars in this movie did their own voices for this film, and they actually all sound good. There are some good songs that work, and might just have you humming the tune when it’s over. I know I was.
The real highlight of this film here is that man up top. Jeff Bridges plays Bad Blake here and is basically outstanding. Bridges plays Bad Blake with all that signature coolness that he has, but also with a great emotional depth into his character that has you actually believe that this guy is as messed up as he’ll have you believe. He can be an asshole, with his non-stop drinking, but we are still somehow rooting for him all the way throughout. I was glad that Cooper kept the film on him basically the whole time, cause without him, I don’t think I would have been to get through certain scenes. Bridges deserved that Oscar not only for this, but for also the legend that he really and truly is.
Maggie Gyllenhaal is good here as Jean, but her character is almost too sensible to fall for an old, washed-up drunk like Blake. It’s not to say her performance isn’t good here, because she is very strong, but there’s just not enough in this script to have you believe that she could actually falls for this guy, it happens almost way too fast. Also, that age gap between them, was a little too creepy for me to watch sometimes. There’s also some nice little side spots from Robert Duvall, and randomly Colin Farrell. This was really surprising to see him here, because I just thought it was an odd choice for a country singer/superstar, but he does it well, and actually has a good voice for the music here.
Consensus: The story is very generic, and times a little too unbelievable but the rich performances, especially from Jeff Bridges, and the awesome country music, make Crazy Heart an uneven, but ultimately satisfying story.
So as everyone among the film community know, it is Oscar time babyyyyy!!! So that means get ready for some of the biggest upsets, wins, and probably tearful moments of the year. It was a great year in the film, and this is what has all come down to it people. The big night, and here are my predictions, I hope I do well.
Best Animated Feature: Will Win: Toy Story 3 Should Win: Toy Story 3 Wild Card: How To Train Your Dragon
Best Documentary Feature: Will Win: Restrepo Should Win: Restrepo Wild Card: Exit Through The Gift Shop
Best Foreign Language Film: Will Win: In a Better World Should Win: Dogtooth Wild Card: Biutiful
Best Documentary Short, Best Live Action Short, Best Animated Short: Will Win: Can’t say I care too much
Best Editing: Will Win: The Social Network Should Win: The Social Network Wild Card: Black Swan
Best Cinematography: Will Win: True Grit Should Win: Inception Wild Card: The King’s Speech
Best Visual Effects: Will Win: Inception Should Win: Inception Wild Card: Alice in Wonderland
Best Sound Editing: Will Win: Inception Should Win: Inception Wild Card: Unstoppable
Best Sound Mixing: Will Win: Inception Should Win: Inception Wild Card: The Social Network
Best Art Direction: Will Win: Alice in Wonderland Should Win: Inception Wild Card: The King’s Speech
Best Costume Design: Will Win: Alice in Wonderland Should Win: Alice in Wonderland Wild Card: True Grit
Best Makeup: Will Win: The Wolfman Should Win: The Way Back
Best Original Score: Will Win: The Social Network Should Win: The Social Network Wild Card: Inception
Best Original Song: Will Win: We Belong Together (Toy Story 3) Should Win: We Belong Together (Toy Story 3) Wild Card: I See The Light (Tangled)
Best Adapted Screenplay: Will Win: The Social Network Should Win: The Social Network Wild Card: 127 Hours
Best Original Screenplay: Will Win: The King’s Speech Should Win: Inception Wild Card: The Fighter
Best Supporting Actress: Will Win: Hailee Steinfeld Should Win: Melissa Leo Wild Card: Amy Adams
Best Supporting Actor: Will Win: Christian Bale Should Win: Christian Bale Wild Card: Geoffrey Rush
Best Actor: Will Win: Colin Firth Should Win: Jesse Eisenberg Wild Card: James Franco
Best Actress: Will Win: Natalie Portman Should Win: Natalie Portman Wild Card: Annette Bening
Best Director: Will Win: David Fincher Should Win: David Fincher Wild Card: Tom Hooper
Best Picture: Will Win: The King’s Speech Should Win: The Social Network Wild Card: Toy Story 3
I must say that this is a pretty solid year for the Oscar’s this year. All the nominees look just about right the only problem is how will the picks turn out? This year, everything seems like it’s coming down to Old School (The King’s Speech) vs. New School (The Social Network). The past couple of years The Academy (I hate that word) has been looking more towards hip, new films to win it’s Oscar Best Picture. Films such as Slumdog Millionaire, The Hurt Locker, and American Beauty have all been unconventional new films that have seen their taste of Best Picture gold. But there has also been countless period piece wins for films such as Gladiator, Shakespeare In Love, and The English Patient. Also, many other major award shows have already presented the Best Picture win to The King’s Speech which is really chasing up people’s noses, as many other award shows have been choosing The Social Network as theirs. In my opinion, I liked Inception more than both of them, and yeah it’s nominated, but in all honesty it has no chance of winning. When it comes down to it I think that The Social Network should win, because it is an age-defining film, that went from being known as “The Facebook Movie” to being known as the top contender for every Oscar it’s nominated for. I hope that The Academy goes for the new school, because if they had The King’s Speech win, everyone would feel robbed really.
As for Best Actor, I think that Firth deserves to win for all his years dedicate to films, but Eisenberg fully deserves it. I think what the Academy is doing more and more now, is honoring actors & actresses not for just a certain performance they had, but their careers and saying that it’s their time. I don’t mind seeing stars like Jeff Bridges, Kate Winslet, or Colin Firth win an Oscar, because of the career they have but I’d rather see the “best performance of the year award” go to the BEST PERFORMANCE OF THE YEAR.
When it comes to the Best Actress category, it seems like Natalie Portman is the sole winner for here, as she has won almost every single Best Actress nomination at every award show. However, there is once again that little idea that it’s Annette Bening’s “time” to win, as she has been nominated twice, and still has not won yet even though her career has been going on for so long. I want Portman to win, and most likely she will, but I still have a feeling that The Academy may pull something out of their pockets and surprise us all with a Bening win.
I’m very disappointed that my main man Christopher Nolan was not nominated for Best Director this year. He was snubbed for The Dark Knight, and now he’s being snubbed again, and it just pisses me off knowing that certain directors that do such a good job with daring material, don’t get the credit they deserve. I think if Nolan was nominated, he should have won, but I know it’s The Oscars, and not everything works out the right way.
This year had great films, and I’m glad to see that the Oscars have turned out to be this way. I loved 2010 as a year, and the films made it awesome. Here’s to 2011, and let’s just hope that the Oscars are awesome.
Thanks everybody for always reading, and keep on checking!!
The Dude playing a sheriff. This is heaven.
Fourteen-year-old Mattie Ross’ (Hailee Steinfeld) father has been shot in cold blood by the coward Tom Chaney (Josh Brolin), and she is determined to bring him to justice. Enlisting the help of a trigger-happy, drunken US Marshal, Rooster Cogburn (Jeff Bridges), she sets out with him – over his objections – to hunt down Chaney. Her father’s blood demands that she pursue the criminal into Indian territory and find him before a Texas Ranger named LeBoeuf (Matt Damon) catches him and brings him back to Texas for the murder of another man.
The western genre has been kind of dead as of lately. I mean there have been your occasional westerns like Appaloosa, or 3:10 To Yuma awhile back for that matter, but never has there been one in the last couple of years that has brought it back to the “The Good, The Bad, and The Ugly” stages it used to be. But I think it just needed somebody who could handle it right, and those were The Coens.
The Coen Brothers direction is solid here. They use a lot of time to focus on the story, and keep the pace going at a minimal pace. The script that they wrote is also very good for this movie, as it keeps humor, in light of the bad and serious tone this film tries to maintain throughout the whole film. I was glad to see The Coens do something completley different, and once again, keep me watching.
However, my problem with this film is that it just kind of disappointed me. I like how they focuses on the story a lot, but the pace at times, was just way too slow. It would get to a point, and I thought it would go somewhere, and then it just ended up going right back to the dead pace. I will not lie this film is very enjoyable, but the problem was that there are certain times, where the film feels like it doesn’t have much really going on, so they just throw in a little gun-fight. The gun-fights were good in this film, but they didn’t come all the time to keep me entertained, because there still were some dry parts.
Jeff Bridges as usual, is the effin’ man in this film, playing Rooster Cogburn. He’s very good at playing the rough, tough, and stubborn man, who also has a good heart, and you have a feeling that in the end he will do the right thing. Sometimes it was hard for me to understand just what on the earth he was saying, but he is still always a joy to watch. Matt Damon is also very good here playing LaBeouf, giving us that dry, sophisticated timing we haven’t seen from him in so long. It all reminds us as to why he really is one of the best stars out there, and should be given each and every role he is offered. New-comer Hailee Steinfeld is perfect in this role, as Mattie’s Ross, as she is the heart of the movie, and we have to kind of rally around her for this film to work, and we do. She also shows that she can hang with stars such as Bridges, and Damon, and I cannot wait to see what she has planned next. Josh Brolin is also strangely good as Tom Chaney, and Barry Pepper also shows up, doing what he always does best. He gets under-casted, but doesn’t let you forget that he was in this film after all.
The main gripe I had with this film was the fact that I was kind of expecting something new, and improved to the Western genre, since this was done by The Coens and all. But instead, I didn’t get that. It all felt too by-the-book, and certain things happened, that you knew were going to happen, and it’s kind of a disappointment, cause this is The Coens, who are always known for keeping you on the edge of your seat, and surprising the hell out of you. But instead they just keep us entertained, which isn’t so bad, I just was expecting something so much more.
Consensus: True Grit is entertaining, with some good action, and great performances from the cast, but almost a big disappointment as I was expecting something more, and different from The Coens, and instead got your average, generic western, with more wit, and less surprises.
I guess aliens do exist, and look like Kevin Spacey.
Kevin Spacey stars as Prot, an extraterrestrial from the planet K-PAX (or so he’d have us believe), in this science-fiction drama that casts Jeff Bridges as a psychiatrist who doubts Prot’s otherworldly origins. But the doctor begins to question his own instincts when his unusual patient begins talking to dogs — and understanding them — and pulling off other artful tricks that can’t be easily explained.
There are many films that always stretch the truth beyond science fiction, and reality. Some are good, some are bad, this is just right in the middle.
The script is very well-written but some of it just seems overly-familiar. We don’t get reasons for everything, and I liked that, because the more we can make up in our mind is the better, but the film shows too much glimpses of how life is great, and grand. I had no problem with this really, it was just the fact that, I knew where this was going, right before the movie even started, which disappointed me.
The film does do a good job at having us keep on questioning during the film: “is this guy really who he says he is?”. I kept asking myself that too, and I think that’s what actually kept me watching was the fact that I wanted to know badly. The film doesn’t give too many hints away, and by the end, and even after the end, you will keep on questioning, what was real, and what was not.
However, K-PAX is only a excuse for one thing, and that’s to show the acting talents that are Jeff Bridges, and Kevin Spacey. And to be truly honest, their both very good. Every time their on screen together you get this sense of believability, and intensity, that comes directly from their different type of acting styles.
Consensus: Though it is moved too slow, and utterly predictable at times, K-PAX does a great job at keeping us guessing, as well as providing strong performances from its two leads.
Looked like it was a lot of fun for the crew, but I wish it was as fun for me.
Journalist Bob Wilton (Ewan McGregor) latches onto an unbelievable story in Iraq when he meets Lyn Cassady (George Clooney), a man of mysterious origins who reveals he was a “warrior monk” trained by the U.S. Army to develop psychic powers. Jeff Bridges co-stars as Lyn’s mentor, the man who dreamed up the top-secret operation.
The film starts of saying, “trust us, much more of this story is true than you would believe” which is odd as we believe very little of it, actually we believe none of it, full stop. Which then the film then tries and gets you to buy in to the story, and whether you believe in it or not, you admire it, and you really enjoy it. And that’s where I think the film does its best at. It contains a lot of original and fun ideas at how these soldiers are trained.
The problem with the film is that it dives too much into dark humor and satire, that is pretty hit-and-completely miss. When it comes to making a joke on the war at hand now, this doesn’t bring out the best statement. I think some of the jokes were funny, but others were just completely confusing, cause I didn’t know whether or not if it was a joke, or the story itself was actually serious.
Most of the anguish in this film comes from its all over the place tone. I think audiences, including myself won’t know what to take as funny, because the trailers had it all out to be a knee-slapping fun fest of laughter, but when you get to the film, all you see is a bunch of jokes focused on McGregor and Star Wars jokes, because get it, he was in the film. Oh the laughter. It doesn’t get compelling at all, and once its over your not totally taken away by the story itself. And it almost feels like the film was afraid to get edgy at all, and why, I don’t know. It had the R rating and if it went over that edge, the film probably would have been a funnier film.
However, if there was one thing to praise the most in this film it would have to be its hilarious cast. McGregor can’t get the right accent as an American, but he does play the lead with enough insight into his own character, to actually have us care for him, and like him a lot more than the beginning had it out to be. Clooney is simply hilarious as the quirky Lyn, and although he still feels like George Clooney, it doesn’t mean he wasn’t still entertaining. Kevin Spacey is given a lesser role, and does OK with the material he’s given it’s just I wished there was more for him to show. off. Bridges is basically playing The Dude in uniform, and well it works almost every time.
Consensus: A future cult classic, The Men Who Stare at Goats could have been better given the right tone, touch, and writing, but still has enough funny moments, with enough good performance to satisfy, though it still disappoints.
I would become a bit fearless too if I was Jeff Bridges, now that his ass finally won that Oscar.
San Francisco architect Max Klein (Jeff Bridges) miraculously survives a plane crash and emerges a changed man. When Max’s bizarre behavior alienates his wife (Isabella Rossellini) and son, airline psychiatrist Bill Perlman (John Turturro) puts Max in touch with guilt-ridden fellow crash survivor Carla Rodrigo (Rosie Perez), who lost her 2-year-old in the disaster. Working together, can Max and Carla find their way back to emotional equilibrium?
I couldn’t believe how much praise this film has gotten for its portrayal of life and death. I mean this person thinks that he can not at all be harmed or killed in any way, so he just does stupid stuff to see if he can die. I honestly felt like that is such a stupid way to try to show how life shouldn’t be taken for granted.
A bunch of self absorbed a-holes. Oh I had a life changing experience and no one can understand me now. I’m special, blah, blah, blah. What a bunch of crap. Just watching this made me furious at how stupid and self-important people can be.
I did like how this film portrayed the plane crash scenes. They seemed so real where people are in such terror and panic, that they also try to restore calmness and order. Some of the scenes are shot so well, that it was hard to hate the scenes, but still there wasn’t enough of it.
I’ll give it to Bridges who does give a good performance here, its just that I don’t believe its one of his best, mostly due to the fact, that his character is such a d-bag. I feel like if his character changed for the better after the crash we would have been able to cheer for him more and more and like him, but I just kept disliking him more as the film went on. Rosie Perez surprisingly is great here, and doesn’t play that female character that is just used for a romantic love story, instead used for actual insight on a hurt female soul.
Consensus: Fearless boasts good performances, but is way too self-centered with its unlikable main character, and writing is used for trying to be spiritual, but instead comes off as stupid.